Paper gepresenteerd op bijeenkomst van kenniskring toerisme. het paper behandelt de randvoorwaarden van sorytelling als middel voor expliciete kennisoverdracht over het WWW.
Innovations in digital storytelling techniques have spurred on the development of new journalistic and audience practices. The production processes of interactive and immersive journalistic narratives are highly technological and require specialist knowledge of both journalism and design, and require producers to consider how audience engagement and user activity both fit into their story. The resulting narratives redefine the boundaries of what is considered a journalistic production, often requiring users to act within the story, thereby challenging the existing author-user relationship. In this chapter we discuss how the boundaries of journalism are redefined or blurred during both the production and reception processes of interactive, immersive journalism.
As the fourth industrial revolution unfolds and the use of digital humans becomes more commonplace, understanding digital humans' potential to replace real human interaction or enhance it, particularly in storytelling marketing contexts, is becoming evermore important. To promote interaction and increase the entertainment value of technology-enhanced storytelling marketing, brands have begun to explore the use of augmented digital humans as storytelling agents. In this article, we examine the effectiveness of leveraging advanced technologies and delivering messages via digital humans in storytelling advertisements. In Study 1, we investigate the effectiveness of narrative transportation on behavioral responses after exposure to an interactive augmented reality mobile advertisement with a digital human storyteller. In Study 2, we compare how consumers respond to augmented digital human versus real human storytelling advertisements after conducting an exploratory neurophysiological electroencephalography study. The findings show that both types of agents promote narrative transportation when the story fits the product well. Moreover, a digital human perceived as more human-like elicits stronger positive consumer responses, suggesting an effective new approach to storytelling marketing.
In view of the 75th commemoration of the liberation of World War II, Visit Brabant asked BUas to connect the main heritage locations in the province through storytelling in order to attract more visitors.In 2015, we developed a narrative concept entitled “Crossroads. Life changing stories 40-45”. In 2016, we developed a brand guide which explains storytelling guidelines. In collaboration with Brabant Heritage and Brabant Remembers, in 2017-208, 15 meetings were organized all over the province to collect personal WWII narratives. From over 600 narratives, together with a group of historians, we selected 75 narratives. Under our guidance, these 75 narratives have been rewritten into Crossroads stories by some 20 different authors. Brabant Remembers has launched a marketing campaign and (digital and physical) experiences based on these stories. The aim is to touch visitors and local people emotionally with personal stories from the past, and to offer new ways of interacting with these stories, especially for young people.WhenThe project has been running since 2015. We currently play an advisory role in the development of the Brabant Remembers app (for example augmented reality videos), and in physical products such as the Dilemma Maze and the Stilllevens of Studio Verdult.Partners: Visit Brabant, Brabant Remembers, Erfgoed Brabant, Stichting Crossroads
Within the film and theater world, special effects make-up is used to adapt the appearance of actors for visual storytelling. Currently the creation of special effects makeup is a time-consuming process which creates a lot of waste that doesn’t fit in with the goals of a sustainable industry. Combine with the trend of the digitization of the movie and theater industry which require faster and more iterative workflows, the current ways of creating special effects makeup requires changing. Within this project we would like to explore if the traditional way of working can be converted to a digital production process. Our research consists of three parts. Firstly, we would like to explore if a mobile face scanning rig can be used to create digital copies of actors, and such eliminate the need to creates molds. Secondly, we would like to see if digital sculpting can replace the traditional methods of sculpting molds, casts and prosthetics. Here we would like to compare both methods in terms of creativity and time consumption. The third part of our project will be to explore the use of 3D printing for the creation of molds and prosthetics.
De huidige digitale en technologische ontwikkelingen maken een andere, meer immersieve, beleving van mediaproducties mogelijk. Binnen de verschillende disciplines van de Creatieve Industrie zorgt een combinatie van storytelling, interactie en technologie in producties ervoor dat het publiek de ervaring heeft zich in een fictieve wereld te bevinden. Doel Dit onderzoek verkent welke vormen van immersiviteit worden toegepast binnen de Creatieve Industrie, en of er mogelijkheden zijn voor vergelijkbare toepassing in journalistieke producties. Welke immersieve producties zijn er, en hoe zijn deze ontwikkeld en uitgevoerd? Hierbij wordt gekeken naar de waarden en randvoorwaarden die binnen de sectoren van belang zijn. In hoeverre spelen bijvoorbeeld onafhankelijkheid, betrouwbaarheid en transparantie een rol bij immersieve producties in de Creatieve Sector? Uitgangspunt van het onderzoek is dat er bij de producties in hoge mate gebruik wordt gemaakt van storytelling en interactie, vaak in combinatie met nieuwe technologie. Resultaten Dit onderzoek loopt momenteel nog. Bekijk de volgende blogs rond dit project: Immersieve productie laat deelnemers ervaren hoe social media manipuleren Crisis biedt ruimte voor cross-overs en innovatie De flexibele grenzen van de creatieve industrie Looptijd 01 oktober 2019 - 30 november 2020 Aanpak In het onderzoek wordt gekeken wat de verschillende disciplines in de Creatieve Industrie onder immersiviteit verstaan, en uit welke elementen dat bestaat. Interviews met makers en experts van immersieve producties binnen de Creatieve Industrie zullen uitwijzen welke motivatie en randvoorwaarden een rol hebben gespeeld ontwikkelen.
